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Analyzing Schubert PDF

302 Pages·2011·8.88 MB·English
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This page intentionally left blank Analyzing Schubert When Schubert’s contemporary reviewers first heard his modula- tions, they famously claimed that they were excessive, odd, and unplanned. This book argues that these claims have haunted the analysisofSchubert’sharmony eversince, outliningwhy Schubert’s musicoccupiesacuriouslymarginalpositioninthehistoryofmusic theory.AnalyzingSchuberttraceshowcritics,analysts,andhistorians fromtheearlynineteenthcenturytothepresentdayhavepreserved cherishednarrativesofwandering,alienation,memory,andtranceby emphasizingthemysticalratherthanthelogicalqualityofthecom- poser’sharmony.Thisstudyproposesanewmethodforanalyzingthe harmonyofSchubert’sworks.Ratherthanpursuinganapproachthat casts Schubert’s famous harmonic moves as digressions from the norms of canonical theoretical paradigms, Suzannah Clark explores howtheharmonicfingerprintsinSchubert’ssongsandinstrumental sonataformschallengepedigreedhabitsofthoughtaboutwhatcon- stitutesatheoryoftonalandformalorder. suzannah clark isGardnerCowlesAssociateProfessorofMusic at Harvard University. In addition to her work on Schubert, her researchinterestsrangefrom medievalFrench motets tothehistory of music theory from Rameau to Schenker. She is the co-editor of CitationandAuthorityinMedievalandRenaissanceMusicalCulture: Learning from the Learned, with Elizabeth Eva Leach, and Music Theory and Natural Order from the Renaissance to the Early TwentiethCentury,withAlexanderRehding. Analyzing Schubert suzannah clark CAMBRIDGE UNIVERSITY PRESS Cambridge,NewYork,Melbourne,Madrid,CapeTown, Singapore,Sa˜oPaulo,Delhi,Tokyo,MexicoCity CambridgeUniversityPress TheEdinburghBuilding,CambridgeCB28RU,UK PublishedintheUnitedStatesofAmericabyCambridgeUniversityPress,NewYork www.cambridge.org Informationonthistitle:www.cambridge.org/9780521848671 ©SuzannahClark2011 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2011 PrintedintheUnitedKingdomattheUniversityPress,Cambridge AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloginginPublicationdata Clark,Suzannah,1969– AnalyzingSchubert/SuzannahClark. p. cm. Includesbibliographicalreferencesandindex. ISBN978-0-521-84867-1 1. Schubert,Franz,1797–1828–Criticismandinterpretation. I. Title. ML410.S3C43 2011 780.92–dc22 2011007625 ISBN978-0-521-84867-1Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceor accuracyofURLsforexternalorthird-partyinternetwebsitesreferredto inthispublication,anddoesnotguaranteethatanycontentonsuch websitesis,orwillremain,accurateorappropriate. To my sisters: Sandra and Sally Contents Acknowledgements [pageviii] Introduction [1] 1 SingingSchubert’spraises:thevoiceofVoglinSchubert’s earlyhistory [6] 2 “Awordwilloftendoit”:harmonicadventureinSchubert’s songs [56] 3 Musictheoryandthemusicologicalimagination: perceptionsofSchubert’ssonataform [146] 4 Analyzingmusictheory:aSchubertiancritique [204] Epilogue [268] Bibliography [272] Index [284] vii Acknowledgements AsSirGeorgeGrovewasnearingthecompletionofhisarticleonSchubert for the dictionary that would bear his name, he wrote to a friend that he fearedhewoulddeeplymissSchubert,whohadbeenhis“companion”for solong.Incompletingthisbook,IhavesomesympathyforGrove’ssenti- ment. Yet writing these acknowledgements brings to the fore all the col- leagues and friends that I have been lucky enough to have as real companionsduringthewritingofthisbook. The ideas for this volume first took shape while I was at Oxford. My thanksgo,asalways,toEmanueleSeniciandIamsogladthatourtimesat Oxfordcoincided.Inparticular,Ioweanenormousdebtofgratitudetomy colleague at Merton College, Edward Olleson, whose formidable musical knowledgesharpenedmyearstonumerousniftyharmonicpassagesfrom Haydn to Brahms. I am gratefulto Susan Wollenberg,who invited me to teachajointcourseonSchubert’sinstrumentalmusic,whereIplayedout someoftheideasinthisbookandreceivedvaluableresponsesfromSusan andthestudents.Ialsogainedmuchjoyovertheyearsfromthetriumphs ofeachofmytutorialstudentsinMertonandUniv.IamgratefultoEric Clarkeforsomeimportantconversationsaboutlifeandmusicanalysis,as wellasforanimateddebatesoveranalyticalquagmireswithJonathanCross andLawrenceDreyfus. I consider myself extremely fortunate to have had Simon Jones as my colleagueinmatterspertainingtotheMertonCollegeChoir.Iamgrateful tothechefatMerton,MikeWente,andtothekitchenstaffandbutlersfor servingsuchsuperbmealswithsuchincredibleimagination.Icannotbegin to count (though Oxford keeps impeccable records on such matters) the number of meals I ate with colleagues over the years atMerton, but I am especially grateful to the Warden and Fellows for bringing a sense of humor, wit, friendship, and deep intellectual exchange to them all. For morningcoffeesandconversations,IrecallwithfondnessRichardMcCabe, Vijay Joshi (who also kindly gave me a huge collection of scores), the college librarian Julia Walworth, and the emeritus Fellows Michael Dunnill and Roger Highfield. In fact, coffee with them was such a staple viii

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When Schubert's contemporary reviewers first heard his modulations, they famously claimed that they were excessive, odd and unplanned. This book argues that these claims have haunted the analysis of Schubert's harmony ever since, outlining why Schubert's music occupies a curiously marginal position
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